Two decades after its groundbreaking debut, millions of fans worldwide remain enthralled with the incredible exploits of Joss Whedon's Buffy Summers, the slayer and feminist icon who saved the world…a lot; as well as Angel, the tortured vampire with a soul who fought against the apocalyptic forces of evil.

Siblings, Eric & his surreal artist sister Kay, her doctor husband David, her sister-in-law Brooke along with pilot Marsh become stranded on a rugged isle face off against a supernatural beast drawn to Kay who dreams of its killings.

Coming off her critically acclaimed, Polaris prize winning 2015 album Power in the Blood, and after winning the 2016 spirit of Americana Award, Buffy Sainte-Marie has delivered her new album Medicine Songs - and has made it her mission to educate and inform the world using her strongest tool - her music, by - in her own words - "putting the songs to work".

Buffy Summers has the lifestyle any young woman could want. Cheerleading, dating the captain of the basketball team, and copious amounts of time spent shopping with friends. She had no idea of her true calling until a mysterious man named Merrick approached her and told her that she is the Slayer; one woman called to defend the world from vampires. Reluctant to concede to the fact, Buffy soon learns that Merrick speaks the truth and so begins to take her new life seriously while trying to maintain the sense of normality her life had once been. With her best friends slowly abandoning her, Buffy finds solace in the town outcast, Pike, who knows very well the terrors that have arisen. Together, they combat the forces of the old and powerful vampire, Lothos, who has his eyes set on Buffy. Written by Vampire-Sharpshooter

Could there have been television without California? California without television? The one shows the other: the ostentatiously novel singularity of the place and the seemingly self-effacing transparency of the medium. Yet if television and California both promise again and again to offer us something new, young, immaculate in its transience — a pure surface that will never get caught in the ditch of time — they are also both haunted through and through: by the itinerant contents of the past that they cannot banish, by memories of the infantile-perverse utopian fantasies that taunt us in constant replay (“If you’re going to San Francisco…,” “two girls for every guy”), by the contradiction played out in the very gesture of dismissing history and leaving the dead to bury the dead.